The Museum of Modern Art (MoMA)’s new curatorial strategy looks to move beyond the Western canon into histories and territories that have been overlooked, underrepresented, or downright ignored. The museum describes this new approach and their new, Diller Scofidio + Renfro–designed galleries, as offering “a deeper experience of art through all mediums and by artists from more diverse geographies and backgrounds than ever before...recognizing that there is no single or complete history of modern and contemporary art.” One of the more exciting shows in the MoMA’s upcoming fall season will center black architects and the ways that architecture has configured sensibilities around blackness in the U.S. MoMA associate curator Sean Anderson, Columbia GSAPP professor Mabel O. Wilson, and MoMA curatorial assistant Arièle Dionne-Krosnick are organizing Reconstructions: Architecture and Blackness in America, opening October 17. The show is described by the team as “an investigation into the intersections of architecture, Blackness and anti–Black racism in the American context.” How can we understand contemporary architecture through a lens of systemic racism and the violent, discriminatory histories it has fostered in the United States? This exhibition will be the fourth iteration of the ‘Issues in Contemporary Architecture’ series, which began in 2010 with Rising Currents: Projects for NY’s Waterfront (March 24 through October 11, 2010), followed by Foreclosed: Rehousing the American Dream (February 15 through August 13, 2012) and Uneven Growth: Tactical Urbanisms for Expanding Megacities (November 22, 2014, through May 25, 2015). Reconstructions will feature a series of ten newly commissioned works that will, according to the MoMA “explore how people have mobilized Black cultural spaces, forms, and practices as sites of imagination, liberation, resistance, and refusal.” Engaging with public policy, city planning, and architecture, these projects will respond to narratives and conditions found in Atlanta, Brooklyn, Los Angeles, Miami, Nashville, New Orleans, Oakland, Pittsburgh, St. Louis, and Syracuse through consideration of the impacts on African-American and African diaspora communities. The exhibition will include the work of black architects, designers, and artists such as: Emanuel Admassu, Germane Barnes, Sekou Cooke, J. Yolande Daniels, Felecia Davis, Mario Gooden, Walter Hood, Olalekan Jeyifous, V. Mitch McEwen, and Amanda Williams. As with previous exhibitions in the series, community workshops and panel discussions will be held that will inform the works on view from each contributor. April workshops in New York, Atlanta, and Los Angeles will engage students from local architecture schools who will collaborate on a set of public forums and workshops with the curatorial team and the 10 architects, designers, and artists. A “field guide” publication will feature newly commissioned photographs from artist David Hartt and the book will be designed by Brooklyn-based Morcos Key. Reconstructions: Architecture and Blackness in America will be on view from October 17, 2020, through January 18, 2021.
Posts tagged with "Mabel O. Wilson":
Harvard's Graduate School of Design (GSD) has launched a new platform to counteract the pervasive and enduring impact of racism that disproportionately affects black designers. The African American Design Nexus brings together the work of black architects and landscape architects from the past and present on the same website to explore their practices and provoke change within design institutions. That change is sorely needed. Only 2 percent of the nearly 110,000 licensed architects are black, while in landscape architecture, just 0.3 percent of licensed practitioners are black. For context, 2017 U.S. Census data estimates that people who identify as black or African American compose 13.4 percent of the country's population. Among the Design Nexus profiles is Hood Design Studio founder (and GSD alumnus) Walter Hood; Studio And founder and Columbia GSAPP professor Mabel O. Wilson; FAD Studio founder, professor, and textile engineer Felecia Davis; and Paul Revere Williams, the midcentury L.A. architect whose stylistically diverse work gained posthumous recognition. The Design Nexus grew from the leadership of Dana McKinney, president of the GSD’s African American Student Union and one of the principal organizers of the school's first Black in Design conference. McKinney and her peers generated a list of 2,000 African and African American designers, and from this list, an initial 50 designer profiles were created for the Design Nexus website by the student union and by the Frances Loeb Library. While there are fewer than 50 pages up now, more will be added over the summer. The project follows in the footsteps of the Beverly Willis Architecture Foundation's directory of women in architecture, which seeks to boost the visibility of women designers.
Last night the American Academy of Arts and Letters awarded its 2019 Architecture Awards to five teams and people. Selected by jurors Annabelle Selldorf (chair), Henry N. Cobb, Kenneth Frampton, Steven Holl, Thom Mayne, Laurie Olin, James Polshek, Billie Tsien, and Tod Williams from 33 nominees, four winners will receive a $10,000 award from the Academy, and Eduardo Souto De Moura will receive $20,000 for the Arnold W. Brunner Memorial Prize. The winners are: Hernan Diaz Alonso The director of Sci-Arc and principal of Xefirotarch, Alonso was recognized by juror Thom Mayne as occupying “a pivotal position from which to influence the future of architecture,” through his educational involvement. Mayne also praised Alonso's combination of animation, architecture, and design that results in “a dark and aesthetic edge.” His proposal for the Thyssen-Bornemisza Museum in Patagonia received the AR+D Award for Emerging Architecture and a Progressive Architecture Award in 2013, and he has also worked on product design, collaborating with Alessi and others. Mario Gooden and Mabel O. Wilson Co-directors of the Global Africa Lab at Columbia University, the duo has focused on the history and complicated politics of placemaking through their work and writings. Juror Billie Tsien said that the work of the Lab “reminds us that architecture and design can and should be a participant in the struggle for a just world.” Dark Space: Architecture, Representation, Black Identity and Begin With the Past were published by Gooden and Wilson, respectively, in 2016, exploring the intersections of African American identity and architecture, and the history and complexities that surround the National Museum of African American History and Culture. Eric Höweler and Meejin Yoon The principals of the firm Höweler + Yoon have created “some of the most formally innovative and beautifully crafted work today,” according to juror Tod Williams. Shadow Play, a pedestrian-focused public space project, and the Collier Memorial both received an American Architecture Prize in 2016, with Shadow Play tacking on a 2018 AIA Small Project Award as well. Williams called the memorial “a tour de force, integrating innovative structure, form, and meaning.” Anne Rieselbach The program director for the Architectural League of New York has “dedicated her life to architecture,” as said by juror Steven Holl. Rieselbach encourages engagement and architectural discourse through the Current Work lecture series and has overseen the Emerging Voices program for over three decades. “She has continuously advocated for the exploration of new ideas in urban design and architecture,” Holl said. Eduardo Souto De Moura The recipient of the Arnold W. Brunner Memorial Prize, de Moura will receive $20,000 as the architect honored for advancing the practice of architecture as an art. Juror Annabelle Selldorf cited the “distinct sense of materiality” inherent in his works, like the Paula Rego museum in Portugal and his 2005 Serpentine Gallery, designed in partnership with Alvaro Siza. His architecture “feels inevitable,” said Annabelle Selldorf, and has “a timeless and profoundly humanist quality.”
Boston-based architects Höweler+Yoon, along with Mabel O. Wilson, Gregg Bleam Landscape Architect, and Dr. Frank Dukes, are designing a circular memorial to honor the slaves who helped build The University of Virginia (UVA). The memorial was approved by the UVA's Board of Visitors Buildings and Grounds Committee this past Friday. It is estimated that some 5,000 enslaved people contributed to the erection of the University, which was planned by President Thomas Jefferson two centuries ago. Only a fifth of those who worked on the University's construction have recorded names, almost all of which are singular first names. These will be inscribed on the circular memorial—formally titled the "Memorial to Enslaved Laborers"—and space will be left for further names, should research uncover more. The design features a locally sourced granite circle, with a diameter of roughly 80 feet and rising gradually to a peak of eight feet, that references The Rotunda at the University of Virginia. The architects consulted residents of Charlottesville and worked with the University when drafting their proposal; their efforts included community meetings and a social media campaign. "It was critical that we engage the school and local community to ensure that we heard as many voices as possible, and that we understood what individuals felt the memorial needed to achieve,” said Dr. Frank Dukes, in a press release. The memorial comprises two rings. The larger ring will display the names of enslaved people on the inside as it encases a smaller ring, which will serve as a bench for contemplation and hold a water table. A history of slavery at UVA will also be etched into this inner ring. Marcus Martin, a co-chair of the President’s Commission on Slavery and Vice President and Chief Officer for Diversity and Equity at UVA, told the Washington Post that the water "will symbolize libation and the transatlantic voyage of the enslaved people." Martin added that he envisions programs and classes being held at the memorial. "I can see gospel choirs singing there. I can see people giving speeches there," he also said. "Students, staff, and faculty will pass by it every day.... They will probably sit there and reflect upon the memorial." UVA, from an architectural perspective, is laced in history. Monticello and UVA are a UNESCO World Heritage Site, for example, but Kirt von Daacke, a professor and assistant dean at UVA, said the university aims to address the fact that "Jefferson is both the man who wrote the Declaration of Independence, the man who founded a radical experiment in higher education in the United States, and a lifelong slaveholder with rather unpleasant views." "I don’t think the university, until the last decade, had really begun to grapple with that reality," he continued, in conversation with the Washington Post. "I’m really excited that we are adding to that landscape." In a separate press release, Meejin Yoon of Höweler + Yoon also stated, “the Memorial is a facet of the University’s commemorative project that involves many people and initiatives, we envision this memorial to embody the ideals of the University which, as Jefferson defined to be, 'to follow truth wherever it may lead.'"
New book delves into history of the NMAAHC, offering all-too-rare look into major modern building project
The first corona in the skies above Trump’s Washington will occur on August 21, 2017, when a passing moon partially reveals light emanating out millions of miles from the surface of the sun. This great halo of solar rays will fall on the anniversary of the 1831 Nat Turner Rebellion in Southampton, Virginia, where violence in the face of injustice exposed the mounting terror of slavery and accelerated the pace of abolition’s inevitable advent a blood-soaked generation later. While likely unnoticed inside today’s White House just across its namesake Ellipse, the Smithsonian’s new National Museum of African American History and Culture will innately mark that celestial confluence by the design and engineering animating its symbolic facade: the three-tiered curtain of reflective bronze-coated cast aluminum that defines its four equivalent sides. Labeled as “corona,” it is a sunburst incarnate, recalling the woven modular strips of West African Ashanti textiles and Nigerian Yorubaland caryatids. That kind of metaphorical connection is prompted by the rigorous, cross-disciplinary narrative contained in this compact and amply illustrated volume by architect and educator, Mabel O. Wilson. Commissioned by the Museum to mark its recent launch, Wilson delivers with a history of its genesis from century-long civic intent to the intricate teamwork of curators, scholars, and (above all) architects and engineers, who together shaped its conceptual vision. This is all-too-rare look at what a modern building requires in its realization, especially when the stakes are no less than the historic record itself and a site at the hinge of L’Enfant’s plan. Professor Wilson sums up well, “each architect and firm… played a distinct and complementary role, which they described as working together like a jazz quartet.” Her task here is to annotate the resulting score. What further distinguishes Begin With the Past from a routine souvenir book published for an opening (and harkening back to a lost but once common tradition of keepsake publications for such occasions) is its primary focus on the process of construction itself. Wilson recounts this history propelling the pursuit for a national “negro” memorial ideally on the National Mall always with an eye with what the architectural solution would be for each successive iteration. While initially nothing but a white marble Beaux Arts temple seemed suitable, the sheer longevity of the political jockeying, budgetary ebbs and flows, public transparency, and open competition meant its architecture could adjust to shifting definitions of what best informs the African-American experience today in all its complexity. Underlying but evolving narratives of bondage, prejudice, cultural intersections, and the promises of progress as vivified by both people and events—as well as the collections gathered to tell these stories—shaped its sheltering form. There was throughout an eager embrace of new materials and technologies (green among them) that turned delay into opportunity. Wilson’s chapter titled “Drawing Up the Plans” offers a model synthesis of good intentions yielding to implementation beginning at long last with site selection followed by the guiding building program. Too often this long resolution disappears in the glare of some architect celebrity at the expense of the combined effort really responsible. Lead designer Sir David Adjaye of Freelon Adjaye Bond, alongside Davis Brody Bond (especially partner forbear, Max Bond, who died in 2009 with the building finally under way) and landscape architect firm, Gustafson Guthrie Nichol, share due billing with the structural, mechanical, and civil engineers who framed solutions far beyond the mere fulfilling of orders. The chapter “Inside the African American Story” stands out as a standard of well-explained problem solving; its welcome inclusion of design elevations and blueprints cements this comprehensive intent. What the author describes as “ a spiritual feeling like that of a cathedral,” comes as much from a soaring interior of long vistas as the combined efforts the book affirms. This is a building that blends strife with hope as its historical mandate deserved. Wilson’s book helps show us not only why but how. Begin With The Past: Building the National Museum of African American History and Culture Mabel O. Wilson, Smithsonian Books, 2016.
Recently, at The Architect's Newspaper (AN) we have seen an influx of architectural projects—Motown Museum expansion, The Equal Justice Initiative's The Memorial to Peace and Justice, Emancipation Park—which explore methods of memorialization and the celebration of black experiences in America. On the occasion of the opening of the National Museum of African American History and Culture (NMAAHC) last September, the museum created greater visibility for these narratives and formed new discourses on race. AN sat down with Mabel O. Wilson, an architect and associate professor at Columbia's GSAPP, to discuss her new book Beginning with the Past which details the hard-fought process of realizing NMAAHC. Wilson also participated in the original competition for the museum in collaboration with DS+R and Hood Design Studio. AN: James Baldwin, in his essay Many Thousands Gone wrote, “The story of the Negro in America is the story of America–or, more precisely, it is the story of Americans.” This quote reiterates a similar statement he made to Congress that you included in your book. Can you talk about that statement in relation to the aim you had for Beginning With The Past? Mabel Wilson: I think what Baldwin was trying to say is that the legacy of slavery, Jim Crow, and I would also put into that the genocide of indigenous peoples, are really the original sins of America. I think there is a way in which the notion of exceptionalism has never been able to contend with the violence that was necessary for the shaping of the nation. In 2014, the AIA released a report which surveyed architects and found that racial minorities are vastly underrepresented in both the academy and the profession. At the same time, many initiatives have emerged recently to address these racial inequalities: Paul Revere William's AIA Gold Award, the Phil Freelon GSD fellowship, the AIA's new diversity scholarship, the "Say it Loud" exhibition. Do these initiatives capture the reforms needed to address the systemic challenges that face the profession in the pursuit to increase diversity? What more can architects do? I think there are many factors that have to do with the low number of minorities in the field. It’s like movie production, it’s a field that requires access to vast amounts of capital. And so you have to, in some fashion, be able to gain access to that [capital] as an architect. I always tell people that if you want to find out the history of African American architecture, you have to go back and look at all the black builders who, particularly by the 20th century, weren’t ‘licensed architects.’ There were other ways [that] people were building and thinking about space, but it isn’t the stuff that ends up in the history books or recorded by local chapters of the professional association. But it’s out there so you have to look elsewhere. To build is to have power. That’s not something given up easily, which women have found out in architecture. It’s not an easy ceiling to break because of the ways that buildings are tied to power structures and power relations and wealth. As you describe in your book, the Smithsonian unsurprisingly sought African American-led firms and experts to participate in the competition process, casting a light on the deficiencies of architectural competitions to include minority-owned and operated entities. Beyond hiring black architects when they're able to, what can institutional clients do to include historically disadvantaged voice in the development of large cultural projects? I really respect Lonnie Bunch for insisting that the teams have a diverse range of architects. That’s huge in terms of opportunities because it’s fundamentally who you know; it’s social networking which often in this country is determined along racial lines. Even though I’d say the majority of people [and institutions] don’t think of themselves as racists, we’ve just had a huge racist backlash in this country that is showing up as antisemitism and islamophobia and other things. I think the effort to bring in diverse voices for projects is important. The Smithsonian, particularly under Lonnie Bunch’s leadership, produced teams that would not have perhaps normally come together. Your research into spatial politics and collective memory are present at various points throughout your book, especially with regard to the NMAAHC’s location on the National Mall adjacent to the Washington Monument. What does it mean for all Americans that these African American histories and narratives are consolidated on this particular site? In the wake of the NMAAHC, do you see architecture playing a bigger role in telling the story of black America? Certainly, the museum has brought this kind of sensibility to a lot of issues. It has a very important presence in that it is visible to the world. And, it’s impossible to get a ticket, still, there is extraordinary demand to experience this history because it was never told and the material wasn’t collected. That was the big challenge for [NMAAHC]. Most people think that designing the building and raising the money was the hard part. No, it was building a collection. I think it’s significant now, as we think about these legacies, how people mark these things that have already been forgotten. So that is why I think [NMAAHC] is important because that collection work was never done. I think we are still dealing with issues of race as a nation and as a world; we still have work to do.